yle. The music, which formed an integral part of it, was
equally different in the one from the other."[2]

[Footnote 1: "Les Origines du Theatre Moderne ou Histoire du Genie
Dramatique depuis le Premier Siecle jusqu'au XVIe." Paris, 1838.]

[Footnote 2: "Histoire de l'Harmonie au Moyen Age." Paris, 1852.]

The liturgical drama, which was chronologically the first of the two
forms, originated, as we have noted, in the ceremonies of the Christian
church, in the strong dramatic element which inheres in the mass, the
Christmas fetes, and those of the Epiphany, the Palms and the Passion.
These are all scenes in the drama of the sacrifice of the Redeemer, and
it required but small progress to develop them into real dramatic
performances, designed for the instruction of a people which as yet had
no literature.

The wearing of appropriate costumes by priest, deacon, sub-deacon and
boys of the choir is in certain ceremonies associated with the use of
melody and accent equally suited to the several roles. Each festival is
an anniversary, and in the early church was celebrated with rites,
chants and ornaments corresponding to its origin. The Noel, for example,
was supposed to be the song which the angels sang at the nativity, and
for the sake of realistic effect some of the Latin churches used the
Greek words which they thought approached most closely to the original
text. The Passion was the subject of a series of little dramas enacted
as ceremonials of holy week in all the Catholic churches.

Out of these ceremonies, then, grew the liturgical drama. The most
ancient specimens of it which have come down to us are those collected
under the title "Vierges sages et Vierges folles," preserved in MS. 1139
of the national library at Paris. The manuscript contains two of these
dramas and a fragment of a third. The first is the "Three Maries." This
is an office of the sepulcher, and has five personages: an angel, the
guardian of the tomb and the three Maries.

The drama of the wise and foolish virgins, which was thoroughly examined
by M. Magnin and by Coussemaker after him, is simple in construction. It
begins with a chorus in Latin, the theme of which is indicated by the
first words:

"Adest sponsus qui est Christus: vigilate, virgines."

This chorus is set to a melody grave and plaintive. Then the archangel
Gabriel, using the Provencal tongue, announces the coming of Christ and
tells what the Savior has suffered o